New York Comic-Con welcomed the cast and creator of TNTâ€™s new Snowpiercer series to the Hammerstein Ballroom on Saturday afternoon. Back in 2013, revolutionary South Korean director Joon-ho Bong (Okja, Parasite) translated acclaimed French graphic novel Le Transperceneige into a groundbreaking post-apocalyptic adventure film starring Chris Evans. From that, Graeme Manson (Cube, Orphan Black) created the new TV series, which will debut on TNT in the Spring of 2020. The story of a globe-spanning train with 1001 cars carrying the remainder of humanity after a climate-change disaster is rife with socio-political and class commentary and deals with many issues facing the world of today.

San Diego Comic-Con is the perfect place to reveal the first trailer for the TBS adaptation of Snowpiercer, based on Bong Joon-ho‘s 2014 sci-fi film – which happens to be an adaptation of the French graphic novel Le Transperceneige.

Snowpiercer is set years after the world has become a frozen wasteland, and centers on the last of humanity, who inhabit a train which has over 1,000 cars and never stops. It stars Hamilton‘s Daveed Diggs as the series protagonist, who will lead his fellow tail car passengers in a revolt against the high-class front car passengers. Check out the trailer below.

It was three and a half years ago now that we found out that a TV series based on the Bong Joon-ho movie Snowpiercercould be on the way. That TV show has traveled a slow road since then. A couple of years back we found out that the series would starDaveed Diggs and Academy Award winner Jennifer Connelly. Last year we found out that TNT had given the show a full series order.

Now the Snowpiercer adaptation has a new home, moving from TNT to sister channel TBS, and has been given a second season. One whole year before its debut season even premieres.

The Americans is a show that didn’t need to reinvent itself. After three superlative seasons, we had a rough idea of what we were in for with each installment, as by design, the show has always been structured to slowly ramp up its stakes as it went it along towards its already forgone conclusion â€” itâ€™s not entirely dissimilar from Breaking Bad in that way â€” but this fourth season seemed particularly focused on disrupting the existing “home” viewers had found within the program.

If pop culture and historical accounts (the ones that we know of at least) have taught us anything, itâ€™s that the art of spying is tedious at best and hazardous at worst.

The Americans has shown us both sides of this equation, but â€œA Roy Rogers in Franconiaâ€ delves deep into the dangers of spycraft as William (Dylan Baker) is tasked with obtaining another biological sample, and a tip from Oleg (Costa Ronin) gives Stan (Noah Emmerich) and the FBI just enough information it needs to get the closest theyâ€™ve ever been to catching Elizabeth and Philip (Keri Russell and Matthew Rhys).

Considering events with Philip (Matthew Rhys) dominated the front half of the season, itâ€™s refreshing to see Elizabeth (Keri Russell) fall back into the spotlight for the back half of season four – with one of the most rewarding aspects of that pendulum swing being the way in which Elizabeth and Pastor Tim (Kelly AuCoin) find themselves in one anotherâ€™s orbits throughout â€œDinner for Seven.â€

Itâ€™s easy to paint AuCoin’s Pastor Tim to an antagonist role â€“ a reaction thatâ€™s reductive and wrongheaded â€“ but the strength of the character comes from his empathy: something that Elizabeth desperately needs throughout this episode as she comes to terms with having to wrap up the Patti operation. I guessed that the pregnancy angle would be how Elizabeth approached it, but I forgot that youâ€™d still need some way to actually get into Donâ€™s office. My heart sank for Elizabeth as Philip entered into that building â€“ thatâ€™s the goodbye she was referring to a couple of episodes back.

Fleetwood Mac has forged an inescapable bond with The Americans. Before the series premiered, critics were already praising the show’s now infamous use of “Tusk,” for good reason: it took something familiar (Fleetwood Mac needle-drops often find themselves frequently used in popular culture) and put a new spin on it (“Tusk” is, for someone like me, not something I’d ever remembered hearing on the radio and was therefore a new and fresh dimension of a band I was already familiar with). The inclusion of “Tusk” defined the show early on in the same way: we might know the tropes and typical beats of a spy story, but this show was going to bring something bold and new to the genre.

It can sometimes be counterproductive to look at the title of an episode and distill the events solely though that title, but itâ€™s apt that the â€œThe Magic of David Copperfield V: The Statue of Liberty Disappearsâ€ centers around the disappearance of people, emotions, and (ultimately) time. Iâ€™m starting to sound like a broken record, but the eighth installment of The Americans‘ fascinatingly confident fourth season is a series highlight in a string of episodes that have been consistently some of the best the show has ever produced.